Punctuating the drone of speeches, the music in the air at recent anti-government demonstrations doubtless played as big a role in venting the tension as did the crowds' chants of "Thaksin awk-pai!"

The sounds of this "Awkstock" also gave rise to a whole new repertoire of songs from performers whose speciality, after all, was "songs for life" - the soundtrack of protest since the early 1970s. This was an unexpected chance for reunion and revival, and the audience was made to order.

The anti-Thaksin "mob" loved the lyrics, and the singers - finally granted a bigger audience than they had seen at any boozy "songs-for-life pub" - obliged by composing more than 20 new tunes full of satire and outrage.

As a leader scoffing at the rattle of the drums, Thaksin Shinawatra was a godsend for the songwriters, who skewered the acting prime minister and everything about him, including the shape of his face, and in doing so struck a chord with the thousands amassed to oust him.

When musicians first took the stage at the early rallies, they'd simply shout out "Thaksin!" and get a responding roar of "Awk pai!" It was the introduction to every performance. But that was gradually replaced with fresh catch phrases as lyrics from every new song was adopted by the crowd to flavour each bite of renewed criticism.

Soon there were a dozen tunes taunting the premier, from Saeng Thammada's "Yik Thaksin" and "Ou Mun Awk Pai" by Blue Issara to "Ying Kong Ying Ruay" by

Zuzu and Sek Saksith and their friends. Also prominent were the crowd-mobilising "March Pantamitr Mai Klua Dad" by Nga Caravan,

the group composition "Sanam

Luang" and Zuzu's "Dern Dern".

Until Thaksin came along, it was rare that songs-for-life artists got to perform in front of tens of thousands of people. They had their pubs and perhaps some airtime on a radio station. Now here they were back again, boldly in the big time, with a "dream audience" who understood them and were moved by their messages.

To be sure, the majority in the mob had come of age at the same time as the songs-for-life musicians, and they knew the music of Surachai "Nga" Jantimathorn, Yuenyong "Ad Carabao" Opakul, Pongthep Kradonchamnarn, the band Hope and Pongsit "Phoo" Kampi.

And they howled their approval any time it was announced one of these artists was about to play at the rallies. The only one missing, it seemed, was Ad, who said he was busy elsewhere.

The People's Alliance for Democracy left the stage open for artists from other genres as well. Any performer who shared the general anti-Thaksin sentiment was welcome, so the crowd was treated to northern folk songs by Suntaree Vejanond, traditional Thai music by Kor Paim Sib Lor and Kanakam "Bee" Apiradee and even a veteran of the '60s, Suthep Wongkamheang.

When the ASTV gang from the Manager media group introduced the tune "Ai Na Liam" ("Square Face Scum") - a stinging rap song tied in with an old-style chorus - at a Government House rally, its perfect blend of sarcasm and humour made it an instant hit. The lyrics left no Thaksin-related controversy untouched.

Besides, the popularity of "Ai Na Liam" and other songs spread like wildfire thanks to the mass media. Whereas protest tunes had to be repeatedly sung in the old days before they caught on, today the Internet spreads them along at an amazing speed. The mainstream media would have preferred to ignore the songs, but the download generation was bent on the prime minister's downfall.

Propelled by the Net, "Ai Na Liam" leapt borders, simultaneously providing the soundtrack for mobs on the march in Bangkok as well as chanting expatriate Thais protesting in front of the Kingdom's embassy in New York City.

With "Ai Na Liam" - copies of which sold out repeatedly at the rally sites - the full extent of the demand for Thaksin's ouster became clear.

It seemed almost wishful thinking at the time, but Suntaree once pointed out that musicians can't ignore what's happening in the news. In dire times, their place is not in the pubs or cafes or even at their CD-touting concerts. When they're needed to give voice to the people's feelings, to speak out for the good of the country, they have to step forward. The soapbox, the street corner and the stage in a public park are their true homes.

Music can stir people to action even as it soothes unwarranted temper. It can teach even as it entertains, share even as it demands. It can clarify and focus sentiments even as it expresses them raw. It can make history, just as it has once again. 

Veena Thoopkrajae

The Nation